by Daisy Sissons
Antonio Vivaldi (1678-1741) and Harold Darke (1888-1976) both used text from the Eucharist Mass whose origins can be traced back to the first Latin translation in 360 A.D. Over the centuries, the text was relatively rarely used and was only introduced to regular Sunday masses in the 11th century. It now forms a large part of the Eucharist daily service. The Gloria text is used to celebrate God, in the same way that the angels celebrate Jesus’ Birth. Vivaldi used 12 movements to extensively explore the text, whereas Darke used the Gloria as part of his communion service. Darke’s Gloria takes approximately 4 minutes to perform whereas Vivaldi’s takes over an hour. Their different interpretations of the text were possibly shaped by the differences of their personal and wider societal contexts during the times that they were composing.
During the early 1700s, Vivaldi was employed by Ospedale Della Pietá (an orphanage, convent and music school run by Venetian nuns) to work as violin master. There is some evidence that the ‘orphanage’ was more like a home for the illegitimate children, especially girls, of Venetian noblemen; this explains its wealth and excellent music education. He later became Director of Music there between 1716-1717 and 1735-1738. At the time, it was highly unusual to have a female choir. It affected his writing because he had the timbre of the female voices in mind. Interestingly, whilst Darke’s composing of the Communion Service in E for King’s College, Cambridge is more recent, the context in which it was developed is more ambiguous and less documented. It was published in 1961 and the assumption has been that, because Darke was Director of Music at King’s during the 1940s, the composition dates around that period. This uncertainty leads to a tension between difficulty of understanding the piece due to the lack of information available, however it allows for more freedom to explore. Conversely, Vivaldi has been more thoroughly analysed, although different points of view can be useful it could be more restrictive.
Figure 1
Vivaldi’s piece displays many features of conventional Baroque music. Typically in Baroque music, the orchestra was dominated by strings with an organ to support as part of the continuo. Vivaldi uses this string orchestra and organ in his Gloria with the addition of trumpet and oboe as obbligato. Vivaldi uses a range of keys for the different movements, most of these are major, however some minor keys are used such as B, E, D, and A. The opening movement, Gloria in Excelsis Deo (Glory be to God on high), is in D major. The strings and obbligato play a fanfare-like phrase using mostly dominant and tonic chords, a common feature of baroque music. Devices such as octave leaps (Figure 1, left) and imitation between woodwind and strings (Figure 2, below) emphasises the inclusivity of praising God. Whilst the melody is similar between instruments, mostly quavers with few rests, the sound is varied due to the different timbres of the instruments which combine to create excitement. The contrast between the short note values of the strings and the sustained choir line in Bar 34 of movement 1 creates a tension and sense of anticipation which engages the listener (Figure 3).
Figure 2
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| Figure 3 |
Figure 4
The third movement, Laudamus te (we praise thee), is written in G major for two sopranos and orchestra. There is imitation between the two vocal lines which creates the effect of many voices ‘praising’ God. The melisma on the word ‘Glorificamus’ in bar 51 creates suspensions (on the first beat of the bar) between two vocal lines building and releasing tension several times which creates an intense atmosphere for the listener (Figure 4, right). In the 7th movement, Domine fili unigenite (only begotten son), Vivaldi uses F major, and rising dotted scalic passages in the strings and continuo to suggest the innocence of Jesus and his power to heal sins. Vivaldi uses D minor in movement 8, Domine Deus (Lord God), this is similar to the Darke which is also in minor in this section. The text Agnus Dei is conventionally more reflective, therefore both composers have chosen to use a minor key to convey this.
Equally Darke’s compositional style is reflective of his period, specifically the 20th century, taking inspiration from composers such as Ralph Vaughn Williams. Following typical sacred choral music, Darke composed for homophonic SATB choir and organ. In the first phrase, (Glory be to God on high) the organ uses mainly dominant, tonic and subdominant chords. Darke modulates from E major to G♯ minor (tertiary relation) a few bars before the phrase ‘O lord the only begotten son’ (Domine fili unigente) with a poco rall. The soprano sings a descending G♯ minor scale with modal inflections. This is contrasting with Vivaldi’s interpretation of the text as he setss these words in F major marked Allegro. There is an ambiguity in the possible interpretations of the text. It could be that it is uplifting in praising God, or showing the isolated nature of Jesus’ life. This is clear from the flattening of the 7th of the scale (F) in bar 34 and 35. The avoidance F♯ in the organ part supports this. The use of modes contrasts the functional harmony of the Baroque period, and places the piece firmly in the 20th century. Some phrases are sung unaccompanied, such as the phrase ‘have mercy upon us’ in bar 49-52 which is characteristic of four English church music. The lack of organ allows for the words to be clearly heard and creates a vulnerable exposed sound.
Throughout the movement, the organ part is mainly chordal with crochet movement, providing a steady support for the vocal lines. Pedals are mainly used for the bass which adds to the idea of the organ as an accompanying instrument rather than one with countermelodies. Quaver movement in the organ tends to be during melismatic words such as ‘worship’ and ‘glory’. Unlike Vivaldi, Darke has carefully marked dynamics in both the organ and the voice. Harmony and dynamics are used to word paint ‘glory’. There is contrary motion in the choir parts, the soprano and altos descending and the tenor and bass ascending. The first chord of the word uses 7ths in the next beat which creates a sense of anticipation which is then resolved showing the greatness and enormity of the glory which helps to support the text. For example the dynamic marking ‘ff’ during the word ‘Glory’ with consecutive open 6th chords in the bass of the organ adds a gravitas to the meaning.
There are other examples of 7th chords used for their sound instead of function and are not always resolved. Unlike the Vivaldi which modulates to closely related keys, Darke often uses keys with tertiary relations. In Bar 34 there is a modulation from G♯ minor to B minor (another tertiary modulation) with modal characteristics. Before the phrase this is another example of how Darke conforms to conventional 20th century harmonic devices. Other interesting harmonic features include false relation in Bar 99 and 100 and the use of secondary dominant pedals in the final section from Bar 95 to return to the home key of E major. In addition, both composers use a change of tempo to reflect the mood of the text.
In both works, the music is used to complement the text. Central to the language used by both Darke and Vivaldi is word painting. Darke’s mid 1900s arrangement uses an English translation of the Gloria text. Although modern and contemporary composers often use the Latin text, it was, and indeed is, not unusual for a modern English composer to use a translation. During 1549 the English Reformation occurred which led to significant changes to the Book of Common Prayer and also stated that church services should be presented in English as opposed to Latin. This was particularly important because it allowed for illiterate people, and those who did not know Latin, to be included in religious experiences. Darke’s use of the English text perhaps makes word painting more obvious. Each time the word ‘sins’ is used it becomes more dissonant, firstly sung on the root note, then the third and then seventh. The use of dissonance creates an uncomfortable melodic line highlighting the wicked connotations of ‘sins’. Darke writes the passage ‘thou that takest away the sins of the world’ for soprano only. Which creates a sense of young, new life and innocence. This directly contrasts with the word sin however it could be suggesting the hope that Jesus brings. The use of suspensions in the organ accompaniment builds tension.
Vivaldi uses word painting in several movements, however notably in movement 9, Qui tollis peccata mundi (thou that takest away the sins of the world), written in A minor with some chromatic moments. The rising chord sequence during the repetition of the words ‘suscipe deprecationem’ moving in a sequence of V, I, III (with added A and C♯), IV in Bar 8. This creates a sense of longing or pleading which highlights the meaning, begging God to ‘receive our prayer’. Secondly, in the first movement the text ‘Gloria’ is set syllabically and in homophony which emphasises the significance of the words and creates a chorus style atmosphere.
In conclusion, there are some similarities in their interpretation of the text, in that important words are often set melismatically or sung in unison. However, both composers use the conventional harmonies which are reflective of the times they were writing. The change in harmonic convention over the centuries is particularly interesting, and must be taken into account when analysing music. To disregard the cultural and historical contexts of these pieces, and indeed any piece of music, would lead to a loss of a significant and integral part of the analysis.
References
(n.d.). Vivaldi - Gloria - Programme Notes. Retrieved December 7, 2021, from http://www.choirs.org.uk/prognotes/Vivaldi%20Gloria%20(Royal%20Free).htm
ANALYSIS AND REHEARSAL CONSIDERATION ON ANTONIO VIVALDI'S GLORIA – RV 589 by JOO YEON HWANG BA, Chung Ang University, 2008. (2012, May 3). K-State Research Exchange (K-REx). Retrieved December 7, 2021, from https://core.ac.uk/download/pdf/5177415.pd
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Antonio Vivaldi - Instrumental music. (n.d.). Britannica. Retrieved December 7, 2021, from https://www.britannica.com/biography/Antonio-Vivaldi/Instrumental-music
English Reformation. (n.d.). Wikipedia. Retrieved December 7, 2021, from https://en.wikipedia.org/wiki/English_Reformation#Consequences
Özgür, M. (2016, March 5). Vivaldi - Gloria (RV 589) - Vivaldi's Women - andantemoderato.com. Andante Moderato. Retrieved December 8, 2021, from https://andantemoderato.com/vivaldi-gloria-rv-589-vivaldi-women/
Shapiro, A. (n.d.). Vivaldi's "Gloria": Severe and Good Natured. Alan Shapiro. Retrieved December 7, 2021, from https://alanshapiromusic.net/music-education/vivaldis-gloria-severe-and-good-natured/
Vivaldi, A. (n.d.). Vivaldi - Gloria in D major RV589: description. Classic Cat. Retrieved December 7, 2021, from https://www.classiccat.net/vivaldi_a/589.info.php#RV_589
Vivaldi: Gloria. (n.d.). London Concert Choir. Retrieved December 7, 2021, from https://londonconcertchoir.org/musical-works/vivaldi-gloria
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